My Dearest Angelic Fans and Friends!
SUPER HAPPY for our ZOOM Chat with everyone on Mon, Jan 11 of 2021!! I received so many PM messages! Hahaha.. everyone is very lovely.. thank you!
There was a question from Yi Pei from Singapore regarding what my dreams were and I said I didn’t have dreams that I always wish to be HAPPY, go with the flow of the Universe and have accepted graciously & with great appreciation of whatever came to me.. either in great adventures, supreme Blessings which I am so grateful for, adversity, or challenges to help me grow. I know it is all a part of our life path, and that is all very true. But after I woke up the next morning, I realized I DO have some dreams! They are very simple dreams, so I do want to share them with you!
My first Dream of being an entertainer, singer, Actor, and giving happiness to pple since I was 10 years old has come true already. I am still living that Dream and ever so grateful for all the blessings I’ve received, to meet and be a part of all your lives! Now, my 2nd Dream is to be of service to the Universe! To awaken to the magic and wonder of the Universes wishes for us to all live in Harmony and realize we are ALL CONNECTED as one WHOLE Human species, with incredible synergy with Mother Nature, and all other creatures big and small equally occupying the Planet as much as human beings! We can live with love and light for one another and be good to each other COLLECTIVELY so that we can CREATE the BEST ENERGY to propel this Planet to its best place possible! No matter what color, race, status we are, we must help each other realize our best possibilities! We can create the GREATER GOOD together and wishing the best for each other with our best behaviors and attitudes to a better life, and a better Earth! The Universe LOVES US ALL EQUALLY, and even though some of us seem to have a better life, and some don’t.. we need to see much deeper and beyond what is on the surface.
What I really loved about the Zoom chat is that our talk was not just about ME talking! It was also an opportunity to let many of us from all walks of life, like Alex, from Israel, Amazing! Like Michelle, who was an emergency ICU nurse in Portland, Oregon and brought us with Zoom to her work place at like 5AM b4 she goes into seeing what must be a very difficult job for her, like John & Kitson in London, whom had a 3 week covid episode and came out great, and in lockdown for quite a long time, & like our young girls from China, still in school! Like being able to share Nicole’s Bday night, and that Alice so sweetly informed us it was her Bday. Like Michael in HKG whom I was so delighted now has a family of healthy, happy people! I’m so delighted that some pple have been with me for so long and have developed wonderful lives for themselves, and we are all friends and I’m so happy for everyone! It was so miraculous to hear YOUR STORIES TOO.. and to have you share your happiness or your heartache with everyone and we can all SHARE in your HAPPYNESS, or give you solace and support!! I just love that so much and want to DO IT AGAIN! But of course.. I was passing out late Monday night so I hope we can find a great day to start in the early afternoon till maybe dinner time.. hahaa.. we can have different sessions so everyone will get a chance to tell their story and of course I will be HAPPY to answer any questions that you have on those issues or just tell ur story! Of course to give everyone a chance, U will have to PREPARE ur stories well so we can go thru several each time! Many of the fans who PM me later, told me they were too shy to tell their story or ask their question, but that’s really what we are doing it for! So let’s TRY AGAIN!
I would like to ask Fans to write in a story they would like to tell.. U don’t have to tell it now but at least express U want to tell a story or an issue U would like to discuss and see how it can be helped.. of course it is a bit tricky to let everyone talk at once because there is a time constraint..and I would like to answer any Q’s, but I think it will be great… and U can let me know what you guys all think too or how you feel we can have a more organized and well managed format! We will welcome ur suggestions and know that I want to morally support U guys as much as U have all supported me thru these years and really hope we can develop a scheduled, consistent rapport thru Zoom! I LOVE ZOOM! What a great invention for all of us and especially at this time! I would also like to THANK Vicky Yao in Taiwan, and Kuan, in BJ for arranging so much time and effort to make this possible for ALL of us & vital contributors to helping me REACH OUT to all of you!! Let’s have another session before or after Chinese New Year if possible! Let me know what you all THINK!!!
LOVE YOU ALL WITH BLESSINGS AND LOVE! Sally!!
PS! One more request to bypass U… Our Admin Gals Vicky & Kuan have edited about 1.5 hours of chat to place online for other fans to see & hear.. if there is anyone who would not like to be posted.. pls do let us know so we can edit you out.. we are not publishing all as it is so long so if you give us your name we will ensure to respect your privacy, so please do let us know!
我最親愛的天使粉絲和朋友們!
2021年1月11日星期一,我們與所有人進行的ZOOM聊天超級開心!我收到了很多留言!哈哈哈..每個人都很可愛.. 謝謝!
來自新加坡的Yi Pei 問了一個關於我的夢想是什麼的問題,當時我說我沒有夢想,一直以來我的夢想就是開心,順應宇宙的流動,熱情地接受生活所賦予的一切,對所有心懷感激 —— 無論是偉大的冒險,至高無上的幸福,或是幫助我成長的逆境與挑戰。我知道這些是每個人必經的生活之路。但是第二天早上醒來之後,我意識到我其實確實有一些夢想!它們是很簡單的夢想,所以我想和你們分享!
從我10歲那年開始,我的第一個夢想就是成為一名演藝人員 —— 成為歌手,演員,並為人們帶去快樂。現在,這個夢想已成真,我仍然真實地生活在這個夢想中,並對這份上天帶來的祝福 —— 對能成為你們生活中的一部分 —— 而深懷感激!現在,我的第二個夢想就是做出自己的貢獻!去覺醒於宇宙的魔力和奇蹟中,意識到上天所希望的是我們所有人及所有生靈都和諧共處,因為我們大家緊密相連息息相關,與整個自然界有著不可思議的協同作用,並和所有其他大小生物同等共存於這個地球上!我們可以彼此相愛,友愛相處,從而共同協力創造出最佳能量,將這個星球推向最高的層面!無論我們是什麼膚色,種族,身份,我們都必須互相幫助,實現我們的最佳可能性!我們可以以各自最好的心態和真實的行動成為彼此的福氣,並共同創造出更大的夢想,令所有人受益。宇宙平等地愛我們所有人,儘管我們當中有些人的生活似乎更好,而有些人卻沒有。我們需要意識到這個表面下更深層的真相。
我真正喜歡Zoom聊天的地方是,我們的聊天不只是我在講話!這也是一個機會,使我們大家無論來自哪裡,在做什麼,都能夠相聚在一起。例如來自以色列的Alex,不可思議!例如俄勒岡州波特蘭市急診重症監護室護士Michelle,她通過Zoom帶我們到她工作的地方,在凌晨5點,在她開始一天非常艱鉅的工作之前。例如倫敦的John和Kitson。 Kitson 剛剛經歷了三週和COVID作戰,最終戰勝了病毒,現在看上去很好,雖然也已經被隔離很久了。例如很多來自中國的女孩子們,她們都很年輕,還在上學!例如我們還分享了Nicole的生日之夜,而Alice如此甜蜜地告訴我們那天是Nicole的生日。例如我很高興看到香港的Michael現在有一個健康快樂的家庭!我很高興能有一些同伴已經陪伴我這麼久,並為自己創造了美好的生活。我們都是朋友,我為每個人感到高興!聽到大家的故事非常不可思議—— 所有人和所有人分享各自的幸福或心痛,這一切真是太神奇了!我們可以分享你的幸福,或給予你安慰和支持!我非常喜歡這一切,並且想再做一次!但是當然.. 我那天晚上快昏倒了,所以我希望我們能找到一個美好的一天從下午開始,直到晚餐時間.. 哈哈.. 我們可以舉行不同的聊天會,以便每個人都能有機會講述自己的故事。當然,我也很樂意回答你們可能有的任何問題,或者如果你只是想告訴我們你的故事也很好!為了在有限的時間裡令大家都有機會,請大家先準備好你想分享的,以便我們每次都能聽幾個不同的人的故事!後來許多粉絲發來留言告訴我,他們很害羞,不敢講述自己的故事或提出問題,但這正是我們視頻聊天要做的啊!因此,讓我們再試一次!
我想請粉絲們留言告訴我們你想講的故事,當然現在不必講細節,但至少表達你有事情想分享,或者有問題想問,或者想討論一些事情而得到幫助.. 當然,讓每個人都有機會講話有點棘手,因為時間有限,而我也希望能夠盡可能回答你們的問題,所以我們要提前計劃,分配好時間,但我相信這會很棒… 你們也可以讓我知道你們大家的想法,或者你覺得我們怎樣可以擁有一個更有條理的模式!我們歡迎大家的建議,請知道我希望可以給大家心靈支持,就像這些年來你們所有人一直在支持我一樣,並真的希望我們可以通過Zoom進行定期的,持續的聯繫!我喜歡ZOOM!對我們所有人來說,尤其是在這個時候,這是一項偉大的發明!我還要感謝台灣的Vicky Yao和BJ的Kuan,感謝她們花了許多時間和精力,使我們的Zoom 會議成為可能;她們也是幫助我與大家取得聯繫的背後功臣!如果可以的話,讓我們在農曆年之前或之後再舉行一次會議!讓我知道大家的想法!!!
LOVE YOU ALL WITH BLESSINGS AND LOVE! Sally!!
PS! 還有一個事情想同大家講一下。我們的管理員Vicky&Kuan編輯了大約1.5個小時的聊天視頻,以便上傳到線上給其他粉絲看.. 如果有人不想自己的部分被上傳,請告訴我們,我們可以將您的部分刪除。由於當天聊天時間太長,我們不會發布全部內容的視頻,因此,如果您留言告知我們您的名字,我們將確保尊重您的隱私,所以請告訴我們!
同時也有7部Youtube影片,追蹤數超過4萬的網紅ギターゆみか,也在其Youtube影片中提到,#弾いてみた#guitar#マイファス もうすぐクリスマスだけどみんなは予定あるのでしょうか。 わたしのやっているバンドの1 st配信シングル『My Fuckin' Dream』 ⬇️こちらから聞けます!!! https://orcd.co/greedfiveeggs_myfuckindrea...
「不可逆my first story」的推薦目錄:
不可逆my first story 在 Namewee 黃明志 Facebook 的最佳貼文
欲網購黃明志最新實體專輯《亞洲通才》及歷年專輯和周邊商品請到。Purchase Namewee Latest 《Asian Polymath》 , Others Music Albums & Merchandises Please log in to https://namewee4896.com/
《亞洲通才》專輯介紹
常常有人問我們:「黃明志到底還要發多少張“亞洲通”系列專輯啦?」
我們早練下一秒就立刻尷尬而不失禮貌地微笑說:「我們也不知道耶~」
但,人生的改變,總是突如其來。
每次被詢問總是超困擾的唱片行店員、戰戰兢兢怕搞錯上架資訊的音樂串流平台夥伴、訪問還要寫小抄怕口誤講錯的記者、DJ或樂評大大、每年都覺得「怎麼又來了」的金曲獎偉大評審、很喜歡黃明志但永遠搞不清楚要買哪張專輯的聽眾們!
你們的困擾,我們都知道!
而這一次!我們終於有答案了!
繼2013《亞洲通緝》、2015《亞洲通殺》、2016《亞洲通車》、2017《亞洲通吃》、2018《亞洲通牒》到2019《亞洲通話》!(其中還努力入圍了金曲獎三次最佳國語男歌手獎、三次最佳音樂錄影帶獎、一次年度最佳歌曲獎!)
「亞洲通」系列最終章!!!!!!
「亞洲通」系列最終章!!!!!!
「亞洲通」系列最終章!!!!!!
叛逆實力派創作歌手黃明志
勇敢集八年累積的超強音樂成就!
再給你集八點也換不到的超棒感動!
黃明志“亞洲通”系列最終大魔王專輯《亞洲通才》
轟動全球系列專輯最長紀錄,憾動無數聽膩亞洲通三字的音樂愛好者
象徵著一個音樂時代的結束,留給亞洲通音樂無限的惆悵與未來可能性
終於即將問世啦!!!
《亞洲通才》是黃明志有史以來規模最大的一張全創作專輯
從專輯概念開始,黃明志就打破所有時間、空間與人物生死的想像
集結七張亞洲通專輯一路走來的意念與傳承。
要向宇宙許下一個最強大的音樂願望:完成一張「致敬」專輯
從《一萬個開心的理由》、《對你愛完了》、《五百》、《我們的海闊天空》、《不要去Club》這些充滿黃明志風格的曲名,就足夠讓人充滿好奇又忍不住噴笑出聲。但黃明志對「致敬」二字的敬意,絕非玩笑。為了完成這一張他夢想中的「致敬」專輯,黃明志幾乎跑遍亞洲的所有國家和地區,從日本、台灣、香港、馬來西亞、中國到印度寶萊塢,思考調查找出了足以影響一個世代、國家或文化發展與傳承的重要音樂元素,用接近史料考證與科學研究的方式,日以繼夜焚膏繼晷地完成了這張,在現今音樂產業中可說是前無古人、後無來者的「致敬」專輯:《亞洲通才》。
在這張不簡單的「致敬」專輯中,充滿來自亞洲各國家地區、不可思議的厲害人物,共同對某個時代致意的驚人能量!從第一首《中國痛China Reggaeton》以雷鬼搭配中國傳統樂器,找來香港影帝黃秋生合唱合演就讓許多聽眾嚇到下巴脫臼!《我們的海闊天空》用激情搖滾加上饒舌,找來中國歌手富九毫無違和感致敬香港傳奇樂隊Beyond,更是讓許多香港聽眾熱淚盈眶連聽三百次!《你是我的青春》鄭重邀請到當年憑藉彈奏一首《Canon Rock》爆紅國際的音樂家JerryC 跨刀合作並合演音樂錄影帶,致敬黃明志與他共同經歷的Youtube 草創那自由的時代;最驚人的創意是:黃明志連對成人色情片都可以致敬!《不小心》這首遊走在愛情與色情邊緣的歌曲,竟然邀請到無人不知無人不曉的日本當紅女優三上悠亞攜手出演,讓許多宅男在電腦前(因為痛哭)而消耗掉好幾噸的衛生紙;而90 年代的復古電音一直是許多聽眾念念不忘的音樂情懷,黃明志大膽攜手台灣電音教父DJ Jerry 羅百吉,兩人合作新曲《不要去Club》,反諷幽默又好笑,瞬間帶領聽眾回到90 年代的夜店七彩旋轉球下!
光專輯合作陣容一字排開就夠讓人嚇人了,為了完成亞洲通系列最終章《亞洲通才》的致敬概念!搖滾、雷鬼、中國風、寶萊塢、饒舌、流行、抒情、電音、廣high等無數的音樂曲風;取樣、吉他、古樂器、甚至熱巴那手大鼓、沙貝琴、西塔琴等無數的樂器元素,黃明志將上述的音樂風格和音色大膽玩弄掌間、互相揉合,每首歌在詞曲、編曲、製作到音樂錄影帶拍攝,他都有著無限的靈感與點子!黃明志說:「這是我花最長時間、最投入、最激發創意的一張音樂作品了!」
以講求完美個性著稱的黃明志,在製作《亞洲通才》這張「致敬」專輯的過程中,常為了一個當時很經典的音色,花好幾個星期、聽好幾千個不同的音色庫、不斷想辦法詢問當年的音樂製作人或編曲師,才終於完成「致敬」的第一步:找到音色。接著又開始與編曲一同興奮討論,要怎麼將這個音色與其他現代音樂元素和音樂曲式互相結合,保留該時代的感動,同時締造新時代的意義。每一首音樂作品都花了難以想像的心血與時間,才終於創作出這張令人讚嘆不已、既復古又前衛的嶄新「致敬」概念專輯《亞洲通才》!
要「致敬」不難,要「模仿」也很簡單,但如何把對音樂最大的愛,展現在對無數也曾這樣愛著音樂的經典音樂人、他們所創造的音樂時代上,這絕不是件容易的事。從學生時代黃明志帶著一個背包窮遊亞洲各國,在不知多少個窮困潦倒的夜晚,聽著這一首首經典歌曲,想著這些充滿才華的音樂人,拿起吉他彈到破皮,一首一首地寫下去,只希望有一天能成為他們的一份子。而在經過金曲獎多次的肯定後,黃明志終於在音樂上找回熱情、感動與敬意。
2020 是全球因疫情而陷入絕望的一年,但黃明志回到自己對音樂最「粗」的熱情,最「深」的感動,和最「大」的敬意,邀請了無數亞洲重要的音樂人與各領域工作者,挑戰種種極端而不可能的工作模式,耗費幾萬小時的努力,終於完成了“亞洲通”系列的最終也是最重要的一張專輯《亞洲通才》。
「通才」二字,泛指什麼都會的人才,黃明志一直相信每一個人都有獨特的才華跟天份,不論是很會演戲的影帝、讓人們開心的AV 女優、努力練習的辣妹舞者,只要願意努力,都能在各自的領域中發揮驚人的才華!以「想要跟亞洲各個有才華的人們一起合作」為出發,不論國家、地區、思想、語言、政治、種族和文化,只用初衷、熱情、執著、努力、合作和感動去完成,這就是《亞洲通才》這張專輯。
聽完這張專輯,如果你也有那麼一點被觸動,如果你也開始想努力些什麼。那麼,這張集結亞洲各國許多人們的才華而完成的《亞洲通才》專輯,僅獻給你那份也許還不為人所知的---才華。
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《Asian Polymath》 Music Album Introduction
Asian Polymath is the biggest project Namewee has ever put on, the wholly self-written album transcends the concepts of time and dimensions, it reimagines the afterlife and bestows a whole new meaning for life and death. Asian Polymath is a cognition collectives of all the previous albums, it congregates the essence from the last generation’s works. Asian Polymath is a wish from the author to honor the greats.
From 10,000 Reasons To Make Me Happy, Stop Clubbing, Our Love Is Over, Beyond The Edge and Five Hundred. These very Namewee-ish song titles have definitely got people to burst into laughters and their interest piqued. However when it comes to ‘Honoring’, the word has put Namewee into serious thoughts. To hammer the album into perfection, Namewee has had a few excursions to countries and places such as Japan, Taiwan, Hong Kong, China, Malaysia and India’s Bollywood. Through his research and mid-night grinding, he discovered the musical element which could have an ever-lasting impact on a culture’s growth. By utilizing the historical sampling and referencing techniques, Namewee inducted the element into his most recent works to woo the industry once again.
As the opening title, China Reggaeton fuses the Chinese sound with Reggae to create a unique blend of flavours yet what attracts most is the fact that Anthony Perry, the HKFA laureate being invited to feature in the song. Beyond The Edge is a song which the Hong Kong people love the most, Fu Jiu from China has a voice that strongly resembles the legendary rock band main vocals from Hong Kong – Beyond, hats off to the legends! Canon Rock 2020 is blessed to feature the song’s original creator – JerryC, the song commemorates the first wave YouTube content creators and a backstory of how Namewee rose to prominence. I Shot You shows that Namewee has limitless creativity, he wants to honour the Adult Video actresses and particularly JAV for accompanying him during his loneliest hours. Besides that, the appearance of Yua Mikami has garnered the music video a lot of unwanted attention. Do you still remember the 90s retro disco music? Stop Clubbing is a song that discourages young adults to go to such places. Head figure of Taiwan’s EDM, DJ Jerry collaborates with Namewee to rewind time back to the 90s happiest hours.
To complete the Asian Polymath formula, the finale of the ‘Asia’ albums. Unprecedented guest invitations and collaborations in the album far exceeds the industry’s common standard, in addition to the vast music genres such as Rock,R&B, Rap, Reggae, Ancient Chinese, Hindustani, Modern Pop, EDM and Disco. Nonetheless, sampling techniques, piano, guitars and strings, ancient instruments, Kompang, Sitar, Sape and countless instruments were used. Namewee greatly expanded the instrument capabilities and infused them with his creativity. During each stage of the process, the artiste was always brimming with ideas, the artist even exclaimed: ‘This project has my brain wrenched! My most time-consuming project ever!’
As a perfectionist, Namewee would always need to delve into his massive sound libraries to rummage a voicing that could match the corresponding time period, sometimes it could take weeks to filter a suitable candidate. Namewee would even go to the extreme by attempting to contact the original song producer to locate the most accurate sound but that’s just the first baby footsteps. Then, he would discuss with his arranger for ways to make the sound more modern, to fit the old blood in a new body. Asian Polymath is amazing for its preservation of the retro elements but still modern sounding aspect.
To differ ‘Honouring’ and ‘Imitating’ has its difficulties, the fine line between the 2 is ambivalent and blurry. Hence, Namewee has his own answer to such a question, he believes that by paying homage to the classics, their people and legacies would be the huge difference maker. Long story short, Namewee was already a backpacker in his college years, while he was travelling with a very tight budget in Asia, it was the classics that kept reminding him to be diligent and stoic.
The Corona-pandemic has ravaged 2020 into pieces, many were despair and despondent but Namewee persevered, thus giving birth to Asian Polymath. The word ‘Polymath’ means a person who possesses wide knowledge and talent, Namewee believes that everyone is born with talent yet true success is only granted to the most hardworking genius. Asian Polymath is Namewee’s desire for working with every talented person he came across in Asia, with burning passion comes unparalleled talent, that’s the last calling of Asian Polymath.
#黃明志 #Namewee #亞洲通才 #AsianPolymath
不可逆my first story 在 宮能安 Kung Facebook 的最佳貼文
《親密戲導演》
American Theatre,2018年11月號。
《演員的親密戲》
擷自內文:
「性愛場景,如同設計武打場,或是舞蹈動作一般,需要同樣細心編排的動作設計,特別是在這個 #MeToo時代。 」
「我在研究所時期也是演員,所以我有親身體驗—那種來自同事的不恰當經驗,一起跟我上台的人,或是導演完全不知道該怎麼處理這些(親密戲)場景,所以他們索性就完全不處理。」Sina說 「如果你有一個比較年長的導演,碰到親密戲他會跟你們說:你們就做吧,就試看各種可能。所以你們就開始在性愛場景中即興,這是非常不舒服的經驗,而且大多數時候非常令人受傷。」
「親密戲的指示,從來沒有在演員Emily與她的女搭檔編排動作設計遇到困難時出現(她們當時在編排一個充滿戲劇衝突的雙人愛情戲),即使Emily之前演過同性間的愛情戲,她仍然發現自己舉步維艱, 而她的導演除了不斷對著她們大吼舞臺指示「洶湧的情慾」以外,毫無建樹。兩位演員根本沒有辦法自己演完這場戲,而她們發現到了排練最後階段,她們的導演對著她們大喊「就做吧。時候到了。」
「劇場的一切都是假的,」Sina說,「那是一個由演員搬演的假故事,我們必須永遠記得這點,你不應該因此失去自我,你必須在自我跟所做事情之間取得很好的平衡。是的,你必須把自己奉獻給角色,但你也必須要在適當時候離開。」
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前言:
自己日常閱讀時發現這篇文章,其中許多觀念頗為受用,花了幾天翻譯出來,希望能給台灣帶來不同觀念交流、分享,人家對身體以及一切相關觀念,已經好前面了。
雖為英文系畢業,但仍非專業翻譯,謬誤之處歡迎指正。
歡迎轉貼,請勿用做商業用途。
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正文:
Intimate Exchanges
Sex scenes require as much careful choreography as flight or dances, especially in the #MeToo era.
《交換親密》
性愛場景,如同設計武打場,或是舞蹈動作一般,需要同樣細心編排的動作設計,特別是在這個 #MeToo時代。
Adam Noble had been teaching an advanced scene class for just one month when he faced a startling encounter with sexual assault in acting. A student came to him asking for a new scene partner, saying she thought the man she had been working with, on the final scene between Stanley and Blanche in A Streetcar Named Desire, had tried to rape her.
Adam Noble在他的進階場景分析課上遇到一件令他膽戰心驚的表演性騷擾事件,一名學生跟他要求更換場景搭檔,她說她的搭檔企圖在他們一起工作《慾望街車》最後一景Stanley跟Blanche的戲時,企圖強暴她。
Noble immediately offered to serve as a mediator for the two students, who had been rehearsing alone in the young man’s dorm room, in order to clarify what had happened. The situation was resolved as a misunderstanding, and the two were able to continue working together. But for Noble, who had staged his first theatrical flight in 1992, the incident served as a wake-up call.
Noble立即以協調者身分為兩位同學提供幫助(他們一直單獨在男同學宿舍房間單獨排練),以求能夠釐清事實真相。後來發現整起事件其實是個誤會,兩位同學也因此能夠繼續一起順利工作。但對於Noble來說—他從1992年就設計了他的人生第一場舞台打搏鬥戲—這起突發事件有如一記響鐘。
“We were sending these kids off on their own devices with no foundation for how to approach this stuff,” he recalled. The lack of resources for both students and teachers regarding the staging of intimate scenes was apparent.
「我們讓這些孩子在完全不具備如何處理理這種事的相關基礎知識時候,就放手要他們自己發展,」他這麼回憶。「因此,老師與學生雙方都缺乏排練親密戲的必須知識,這件事是顯而易見的。」
Noble developed a method called Extreme Stage Physicality to provide students with a framework to address what he called in an article for The Flight Master maginize “scenarios of intense physicality” with comfort and confidence. He began teaching ESP to high school, undergraduate, nd graduate students across the country. He found that the methodology was effective for all ages, and the number of reported incidents and problems dropped to zero.
Noble後來發展出了一套他稱之為「極端舞台形體」(ESP)的技巧,他對《The Fight Master》雜誌表⽰這個技巧提供了一組完整架構給學生使用,讓他們在「激烈的肢體情境」中可以感到安心並且擁有自信。他開始在高中、大學、研究所教導這套ESP技巧。他發現這套方法適用於所有年齡層,後來這些單位的性騷擾通報數量為零。
“For me as a director, it had to work for aggression, and it had to work for intimacy,” Noble said. “ It had to work across the board for those moments when the body steps in to fill the void, whether it’s violence or intimacy. Theres’s a point where the text and the words are no longer enough and the body steps in. There had to be a way for them to work on it safely.”
「身為導演,我認為在工作時,必須涵蓋侵略性以及親密性這些面向,」Noble說,「這些都必須要被全面地工作到的,特別是在那些時刻,當你的身體必須要介入來填補空缺的時候,會有那麼一個點,光靠文本跟台詞已經不足以支撐而你的身體必須要介入,在這時候必須要有一個安全工作的方法。」
That way would later be referred to as intimacy choreography, a term first used in 2006 by Tonia Sina, creator of the Intimacy Directors International. While studying movement pedagogy, including flowing and mime, Sina was helping to choreograph intimate scenes in student-directed plays and found what she described as “a hole” in choreography and no resources to help with her work.
那套方法,後來被「國際親密戲導演工作坊」創辦人之一Tonia Sina稱為「親密戲形體排練」。當 Sina在鑽研動作教育學時—其中包含小丑與默劇—一面幫忙在學生執導的劇目中擔任動作設計,就在這時候,她發現了在動作設計這個領域中的「空缺」,而這方面,她發現自己完全沒有任何資源可以幫上忙。
For her thesis he created a technique to help actors improve the conditions of their work as well as the results. Published in 2006, “ Intimate Encounters; Staging Intimacy and Sensuality” drew from her own experience as an actor. While attending graduate school at Virginia Commonwealth University, Sina’s personal life was disrupted due to the lack of structure provided for staging intimate sscenes. While rehearsing Picasso at the Latin Agile, she and her acting partner staged a love scene together, alone-a standard practice for such scenarios- with unnerving results.
她在她的論文創造了一套技巧,來幫助演員精進他們工作的狀態以及成果。2006年,她從自身演員經驗出發,發表了《親密接觸:表演中的親密性及其感官性》。大學就讀維吉尼亞聯邦大學時,Sina的私生活就因為沒有一套擁有完整架構的技巧來排演親密場景,而深受其苦。在排練Picasso at the Latin Agile 時,Sina跟她的表演搭擋需要排練一段愛情戲,而且是獨自排練—一個司空見慣的情況—然後最後結果卻令人不安。
“The second our lips touched it was not rehearing,” Sina recalled. “It was just kissing. We both felt it. We both knew. It ended up spiraling. We ended up leaving our parters for a month and we had a showmance. It caused a lot of mayhem in our personal lives because we couldn’t let these characters go. We didn’t have a safe way to do the intimacy, and we didn’t have a safe way of coming out of it.”
「當我們的嘴唇碰在一起時,那就不是在排練了。」Sina回憶道。「那就只是單純在接吻而已。我們都感覺到了,最後越演越烈,我們都因此而跟各自伴侶分手,在那個演出期間我們的私生活真的變得很混亂,因為我們都不肯放下我們劇中角色。我們沒有一個安全的方法來做親密戲,也沒有一個安全的方法來離開它。」
The two dated for a month, but their romantic relationship ended shortly after the show closed. And while Sina’s experience was consensual, there are many cases in which an intimacy director could have prevented non-consensual encounters and abuses of power, especially for young women in the industry.
他們兩個交往了一個月,但隨著戲告一段落感情也就馬上結束了。儘管Sina的案例是當事者雙方都心甘情願,仍然有非常多的例子不是如此,在那樣的狀況下其實親密戲導演是有大把機會可以防止這種違反自身意願的接觸,以及權力的濫用,特別是對業界年輕女性而言。
“While I was in grad school I was also an actress, so I was experiencing it firsthand- situations that had been completely inappropriate from co-workers, people who had been onstage with me, director and there’s a sex scene and they say, ‘You guys just do it. Just try something.’ So you’re improvising a sex scene with your partner. That’s extremely uncomfortable and very victimizing at times.”
「我在研究所時期也是演員,所以我有親身體驗—那種來自同事的不恰當經驗,一起跟我上台的人,或是導演完全不知道該怎麼處理這些(親密戲)場景,所以他們索性就完全不處理。」Sina說 「如果你有一個比較年長的導演,碰到親密戲他會跟你們說:你們就做吧,就試看各種可能。所以你們就開始在性愛場景中即興,這是非常不舒服的經驗,而且大多數時候非常令人受傷。」
Alcoa Rodies, co-founder of Intimacy Directors Internatial, witnessed and was a victim in such scenarios throughout her career. After almost chipping a tooth when a scene partner decided to intensify a kiss onstage, she was told, “ That’s part of the profession. Get used to it.” Knowing there were hundreds of other women who would gladly take her spot in a show if she left, Rodis thought she had to accept that kind of behavior for the rest of her career.
IDI共同創辦人Alcia Rodis在她自己生涯中,親眼見過幾個案例,並且,也曾經有過身為受害者的經驗。在她的對手演員決定在場上把吻戲變得異常激烈時,她的牙齒幾乎都要裂了,儘管如此,她還是被告知「這行就是這樣。早點習慣吧。」因為Rodis清楚知道如果她選擇離開的話,會有其他幾百位女性會搶破頭想要她的位置,她一度以為她必須要在整個職涯中接受這種狀況。
“We sort of learned that’s not the case, and we don’t have to just take it. We can actually be part of the process and work together,” Rodis said.
「我們後來知道其實並不是這樣的,我們不需要逆來順受。我們其實可以在整個工作過程中同心協力地工作。」Rodis 說。
Sina and Rodies, along with co-founder Siobhan Richardson, created the Pillars, the core protocol of IDI’s work and teaching. A codified process, the Pillars consist of Context, Commumication, Consent and Choreography. (They recently estabished a fifth pillar, Closure, to assist actors in walking away from a character after a performance.) Not having this process, Sina said, can be damaging and dangerous.
Sina跟Rodis,以及創辦夥伴Siobhan Richardson發明了「骨幹」這個IDI在工作及教學上的核心要素草案。其中包含:文本、溝通、同意以及動作(近期還加上了第五個骨幹:收尾。來幫助演員在戲結束之後順利離開他的角色。)Sina說,沒有這些幫助的話,是有可能帶來危害的。
“None of it’s real-it’s theatre,” said Sina. “It’s a fake story that is being portrayed by actors, and we have to keep remembering that. You shouldn’t be losing yourself. You need to have some semblance of yourself and some awareness of what you’re doing. Yes you can commit to the character, but you need to come out again.”
「劇場的一切都是假的,」Sina說,「那是一個由演員搬演的假故事,我們必須永遠記得這點,你不應該因此失去自我,你必須在自我跟所做事情之間取得很好的平衡。是的,你必須把自己奉獻給角色,但你也必須要在適當時候離開。」
IDI currently recommends four certified Intimacy Directors, with 16 candidates in training to become certified. Currently only established movement teachers, choreographers, and directors who have worked directly with a founder are able to apply for training. The organization also offers workshops for actors, directors who want to learn basic consent and choreography, and for stage managers and choreographers wanting to learn more about intimacy direction. In August 2018, a 10-day International Intimacy Pedagogy was held in Illinois.
IDI最近推薦了四位經過認證的親密戲導演,陸續還有其他十六位正在培訓。目前,機構只提供專業的、並且曾和創辦者共事過的動作老師、編舞以及導演可以申請接受培訓。IDI有提供工作坊給演員及導演學習「同意」與「動作」的基礎概念,另有舉辦工作坊,給有意願了解更多關於「如何給予親密戲指示」的舞臺經理與動作設計。2018年8月,他們在伊利諾州舉辦了為期10天的國際親密戲教育學工作坊。
Along with the Pillars, another crucial aspect of intimacy directing is recognizing and respecting traumas in one’s colleagues. All IDI-certified choreographers have completed state-offered metal health certification courses.
除了「骨幹」之外,另有一個至關重要的概念:辨識並且尊重同事的創傷。所有IDI的動作設計都完成了由州政府認證的心理健康課程。
“None of us are therapists, and none of us are counselors,” Rodis said. “But we know what to do if someone is having a metal health crisis, and we know what resources to give them. Because of the nature of the work we’re doing, and because some of us are so new, we’re getting further education on trauma.”
「我們都不是心理治療師,我們也都不是諮商師,」Rodis說「但是,我們知道當有人心理出現危機時該給他們什麼資源。因為就我們現在所做的工作本質上來說,我們都是新手,所以我們有必要持續在創傷這個議題上進修。」
While recognizing that theatre professionals are just that- professionals hired to tell a story- the founders also understand that that job can involve actors putting themselves through traumatic experiences night after night.
“We know what you’re doing is different than going to the office every day,” Rodis said, “If you’re playing Lady Macbeth every night, after a while it’s going to wear on you. So we also offer resources on how to close out at the end of every night.”
正因為知道劇場這個職業就是由一群受聘的專業演員來講一則故事,創辦者清楚的認識到這個工作可能需要演員讓他們自己日復一日、夜復一夜的經歷那些創傷。「我們明⽩你的工作不同於朝九晚五的上班族,」Rodis說,「如果妳每天晚上都在飾演馬克白夫人,過一陣子這個角色其實是會影響到妳本人的,正因為如此,我們也提供方法讓你在每晚演出過後把角色給關起來。」
One such resource is the ability to discuss sexuality and sexual experiences openly and without discomfort- a shift from the norm in American culture, which, as actor/director/teacher Claire Warden observed, has little problem with violence but tends to balk when it comes to sex, leaving directors feeling uncomfortable and embarrassed.
其中一個資源,就是擁有能力來討論性以及性經驗而不會感到不適。談論性這件事,不同於具有多重身份(演員、導演與老師)的Claire Warden觀察到的一個美國文化現象:談到暴力時大家都沒問題,不過一但談到性的時候大家都顯得有點畏畏縮縮的,這其實讓導演們都覺得不舒服與尷尬。
“We’ve got this really skewed view of sex and sexuality and intimacy, and an obsession with it,“ Warden Said, “ A lot of shame, judgment, power, and confusion lies around it, which has made it uncomfortable and awkward to talk about openly.” The root problem, she said, may be that “sexuality and intimacy have kind of blurred into one.”
「我們對於性與親密的相關議題有一種扭曲的觀念,同時卻又深深為其著迷」Warden說,「這同時又有許多羞愧、判斷、權力以及困惑參雜其中,因此讓它成為一個公開談論時會帶來不適與尷尬的議題。」根據她說,其實真正根深蒂固的問題是,我們把「性」與「親密」混為一談。
Intimacy direction was never mentioned when an actor we’ll call Emily(not her real name) was performing in a dramatic two-handler and struggled to choreograph a love scene with her female scene partner. Having never performed a same-sex love scene before, Emily found herself at a loss, and her director- whose only technique was to yell the stage direction “Rolling heat!” Repeatedly- was no help. The two actors were unable to stage the scene on their own and found themselves onstage at the end of rehearsal with the director yelling. “Just do it. It’s time.”
親密戲的指導,從來沒有在演員Emily與她的女搭檔編排動作設計遇到困難時出現(她們當時在編排一個充滿戲劇衝突的雙人愛情戲),即使Emily之前演過同性間的愛情戲,她仍然發現自己舉步維艱, 而她的導演除了不斷對著她們大吼舞臺指示「洶湧的情慾」以外,毫無建樹。兩位演員根本沒有辦法自己演完這場戲,而她們發現到了排練最後階段,她們的導演對著她們大喊「就做吧。時候到了。」
Emily recalled that “when it came time to do it in performances, fight director friends of mine ho came to see the how said, ‘That look incredibly uncomfortable for you both. You looked like you were in pain and it was obvious.’’’ Her friends asked her where the intimacy director was. Emily had never heard of such a director, saying, “ I wish I’d known about it at the time when all the yelling was happening.”
Emily後來說,「後來真的演出時,我有個舞台搏鬥導演朋友來看演出,到了所謂的『就做吧』片段時,他說『那看起來對妳們兩個都極其不舒服,妳們看起來超痛苦,而且非常明顯。」她的朋友繼續問她親密戲導演在哪。Emily那時從來沒有聽過有「親密戲導演」這種導演,她說「我真希望在所有的吼叫發叫的當下,我能夠知道『其實有親密戲導演』這件事。」
Emily now a director herself, said she is carful to ensure that her actors are comfortable when staging intimate scenes. “I am hyper-aware of my actors’ sensitivity and I’m constantly checking in with them: ‘Are you okay? Are you comfortable with this? Let me know if you’re not comfortable. We don’t have to do this. We can do something else.’ And my actors thank me for it. They’re not used to that.”
現在身為導演的Emily表示:「在排練親密戲時,我總是對我的演員的感受保持超級高的敏感度,我會不停的詢問他們『你還好嗎?你對這個覺得自在嗎?如果有不舒服要讓我知道。我們不一定要這麼做,我們可以有替代方案的。』我的演員總是對此心存感激,他們對這樣的工作方式其實還不是那麼習慣。」
Uncomfortable situations can present themselves with or without directors in the room. Often scene partners are encouraged to stage the scenes on their own, outside of rehearsal, a practice that can lead to feelings of fear and helplessness. Sina was kissed inappropriately- a kiss that hadn’t been choreographed or rehearsed- in front of an audience of 500 people and had to be in character as she received it.
不舒服的狀況不論導演在不在場都有可能發生。通常演員們會被鼓勵私下自己排練,其實,這麼做很容易引發恐懼與無助感。Sina曾在500位觀眾面前被不當的親吻—一個沒被事先設計或是排練過的吻 —而她在被親的同時還要想辦法讓自己「待在角色裡」。
“There are times where it’s, ‘Kiss, but don’t kiss until previews.’ It’s the worst,” Rodis said. “At best it’s a bad story, at worst they start grabbing you, ‘be in the moment.’ That’s the definition of assault.”
「有時候的情況是親,但是在試演前不會真的親,那種是最糟的。」Rodis說,「當那種狀況發生時,你能得到最好的結果是一個爛故事,最糟的結果是你開始被這件事給抓住還要『待在當下』, 這其實就是侵犯的定義。」
Along with establishing the definition of assault, IDI training also defines consent in clear, unquestionable terms that differentiate between that and permission. A director can give permission to touch another actor, but only a fellow actor can give consent.
除了建立侵犯的定義以外,IDI還以清清楚楚、不容模糊的語彙界定了「同意」與「允許」的差異。 導演可以「允許」演員去觸摸對手,但只有對手演員自己才可以真的表示「同意」。
“The conversation is always very professional and technical, so when we’re talking about parts of the body, it’s the biological name of the part of the body.” said Warden. “And we as intimacy directors never ask anything about and never inquire about the actors’, directors’ or anyone else’s personal sexual life, history, story, proclivities, etc.”
「所有的討論都是非常專業的,當我們必須要談論身體的部位時,我們都會用生物學名稱。」 Warden說,「身為親密戲導演,我們絕對不會去問任何演員、導演或是任何人的個人性愛生活、歷史、故事或是性傾向...等等任何事情。」
The language doesn’t change when the workshops contain students, Warden said, though she may move more slowly.
語彙的使用並不會因為工作坊有學生而改變,Warden說,只是她會教的更慢而已。
“A lot of what we’re saying for adults is still, ‘That is not real. None of this is real.’’’ said Sina. “In rehearsal, we don’t add acting to it until the very last minute, We choreograph it like we do anything else. Just do the moves so everyone knows what’s happening. Then they can add the emotion to it when the actors are ready and they feel they know the choreography well enough. And if you can get that to happen for minors, it separates the sexuality from the choreography and allows them to treat it like it is: choreography.”
「即便我們跟成年人都一直在強調『這都不是真的,這一切都是假的。』」Sina說。「排練的時候,我們不到最後一分鐘是不會加上『表演』的。在最後關頭之前。我們都像是處理其他素材一樣,做形體動作讓大家都知道會發生什麼事。一直到演員們都準備好了,對動作都夠熟悉時,他們才會真的帶入感情去演出。如果你能夠讓這些未成年先開始這麼做,慢慢的所有人就能夠把性跟動作設計分開來來看,然後以正確的眼光看它:動作設計。」
The inability to treat intimate scenes as simply choreography is a problem Sina has observed at numerous drama competitions, where students without sexual experience or knowledge, let alone the ability to separate themselves from the characters they were playing, have performed sex scenes. These situations can be traumatizing for people without the knowledge or resources to handle it.
Sina在無數個戲劇比賽上觀察到一個問題,學生們往無法把親密場景當成動作設計一樣來處理,這群學生們沒有性經驗或是相關知識,想當然就無法在性愛戲中把自己跟扮演的人物切割開來看待。這種狀況是非常有可能讓人受創的,特別是對那些沒有相關知識,或是資源來處理這種狀況的人。
“If they’re not being led through it properly, it can be very, very dangerous,” she said. “It’s illegal in our country to do anything sexual with a minor or have two minors do something sexual in front of an adult. It’s very thin line between choreography and a crime when you’re dealing with minors.”
「如果他們沒有被好好引導的話,那真的非常非常的危險。」她說,「根據我們國家的法律,讓一個或多個未成年人在成年人面前做出帶有性愛意味的事情是違法的。所以面對未成年時,在『動作設計』跟『犯罪』之間其實只有一條非常模糊的線。」
Demand for IDI services and training has spiked in the past year, since the #MeToo movement has exposed abuse in the entertainment field, including theatre, and the issues of consent and empowerment in the workplace (not to mention outside of it) have become central.
自從去年#MeToo運動開始後,對IDI這個機構的服務與訓練來說,他們面臨了重要挑戰。在娛樂產業(包含劇場)的職場上(更別提職場外也是),現在,關於「同意」與「權力」的議題都變得重要無比了。
“At the moment there’s so much need and demand and only so many of us to go around,” Warden said. “I cannot be in every single room and play out there, but what I can do is empower actors or directors or even stag managers to go into a room and say, ‘I would like to offer a way of talking about this.”
「目前來看,親密戲導演的需求與實際從業人數是不成正比的,」Warden說。「很顯然的,我不可能出現在每一個房間裡指導,但我可以做的是賦予演員、導演甚是舞臺經理權力,讓他們能夠在每個房間替自己發聲『我想要提供另外一種工作方式』。」
Also encouraging to Warden is the increased awareness among young students.
對Warden來說,令他欣慰的是年輕一代學生中對這件事情有意識的人數越來越多了。
“My hope, my intentions and my dream is that the next generation of actors, writers, and directors come out with a very different understating of respect and consent with their bodies and each others’ bodies,” Warden said. “And that leads us into an even more free and safe way to creat deep, authentic, risky stories.”
「我的願望、我的本意、以及我的夢想都是下個世代的演員、作家、以及導演都能夠對他們自己以及他人的身體,有一種非常不同於現在的理解、尊重、權利,」Warden說,「這可以讓我們以更自由,同時也更加安全的方式來創造出具深度、真誠、精彩的故事。」
Carey Purcell, New York city-based reporter
不可逆my first story 在 ギターゆみか Youtube 的精選貼文
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不可逆my first story 在 ここあMusic Youtube 的最佳貼文
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